"Zuckerman made operational changes to the building as well — mostly tweaks related to security, staff offices or visitor experience. She added five board trustees and nailed down the new opening date. She also began acquiring art, beginning with an “eight-talisman installation” by L.A. artist Sarah Cain.

“Eight is the number of infinite abundance,” Zuckerman says. “They’re painted dollar bills suspended from the ceiling with fishing wire. The backs are silver or gold and the fronts are vibrant [colors]. I tell our team, ‘Walk under them, tell them what you need!’”

By Deborah Vankin - 14 June 2021

UTA Artist Space is pleased to present Beyond the Looking Glass, a group exhibition of surrealist takes by women about women. Beyond the Looking Glass is curated by gallery director Zuzanna Ciolek, one of the first members of the UTA Fine Arts team when it was established in 2015.

The ambitious exhibition fills all three gallery spaces with bold works by a cross-generational group of fourteen women-identifying artists: Firelei Báez, Tawny Chatmon, Charlotte Colbert, Kim Dacres, Florine Démosthène, Genevieve Gaignard, Sanam Khatibi, Klara Kristalova, Shannon T. Lewis, Jesse Mockrin, GaHee Park, Hiba Schahbaz, Kiki Smith, and Jessica Stoller.

“While organizing this exhibition, I enjoyed poking holes in traditional standards of beauty in art and pop culture,” said exhibition curator and UTA Artist Space director Zuzanna Ciolek. “And within that playful and provocative framework, the show aims to explore contemporary femininity and representation.”

Beyond the Looking Glass presents a new lens for representation through surreal and uncanny artworks that address sexuality, race, and identity— radically defying solely ornamental representation. Taking inspiration from Alice in Wonderland, the title Beyond the Looking Glass is a twist on Through the Looking Glass, moving beyond a world where women are being seen as purely ornamental. The exhibition pulls viewers into an unexpected world filled with surrealist characters such as an elephant girl, a pink “C-section” vessel equipped with breasts, and a woman riding a reptile. While disrupting traditional portraiture of the Western Canon and confronting stereotypical representations of women, the figures portrayed transcend these societal constraints. With these archaic indicators of femininity stripped away, the surreal and expressionist imagery allows her to break out, expanding beyond the body.

Vielmetter Los Angeles — in collaboration with Cultured Magazine — is pleased to announce the launch of a new editioned print by Los Angeles artist Math Bass.

This distinctly graphic print is from the artist's ongoing series entitled Newz!; a seamlessly sophisticated composition informed by the artist’s signature visual lexicon of symbols and shapes. Screen printing by Tom Kracauer, Los Angeles with additional lithography by Francesco Siqueiros (El Nopal Press). Printed on Coventry Rag; 100% cotton and acid free.

Math Bass "Newz!," 2021 
Limited edition screen print + lithograph
21 x 19 inches (53.34 x 48.26 cm) paper size
Edition of 50; Signed, dated, editioned on verso
Courtesy of the artist, Vielmetter Los Angeles, and Cultured Magazine
Photo credit: Jeff McLane
2000 USD

The Aldrich Contemporary Art Museum presents from where i stand, the first solo museum exhibition of Hugo McCloud. McCloud’s work has been defined by a restless experimentation, an ongoing engagement with process, an exploration of the value of labor, a concern with disparities in social and racial economics, and with the nature of beauty. McCloud’s earlier work can generally be categorized as abstraction, with its veiled subject matter growing out of his experiences of being biracial and his family’s working-class roots. These influences are evident in the materials and process he gravitates to—roofing metal, tar, and most recently plastic shopping bags. He has consistently used non-art mediums to encode social and cultural memory and to reflect on notions of race, class, and economic inequity. His latest figurative works, which were influenced by his move to Mexico in 2018, are composed of single-use plastic bags, depicting workers transporting towering piles of goods on bicycles, motorcycles, and their backs, as well as the overfilled carts of the homeless and indigent. Increasingly, his work speaks of the economics of labor and geopolitics on a fundamental level, while encapsulating the artist’s interest in global culture. from where i stand will occupy The Aldrich’s entire first floor and will include approximately thirty-five works borrowed from both private collections and the artist.

Vielmetter Los Angeles is thrilled to announce the acquisition of Double Dominant 4 (Rodney McMillian), 2018 by the Hammer Museum in Los Angeles. This drawing was included in Haendel's 2020 exhibition Double Dominant at Vielmetter Los Angeles.

The exhibition featured monumental drawings of the dominant hands, doubled, of 24 LA based artists of Haendel’s generation. These highly rendered drawings, for which the artist digitally manipulated the dominant hand of each subject to impossibly interact with itself, ask us to consider labor, time, human touch and individual style in relationship to the practice of making art. The project also reflects the artist's deep commitment to his community of artists, and the high value he places on dialogue and conversation within that community. A volume reproducing the complete set of works, published by Triangle Books with an essay by Natilee Harren, accompanied the exhibition.

"Drawn primarily from SJMA’s permanent collection, Break + Bleed features both paintings and works on paper by historically significant artists who exemplify the spirit of post-painterly abstraction through an expansive range of styles including hard-edge abstraction, Color Field painting, Op art, Minimalism, and soft-edge abstraction. Artworks in this exhibition feature biomorphic and geometric shapes, angular and wavy lines, and lively planes of color. The work of Josef Albers—from his celebrated series devoted to the square, exploring the subjective experience of color—may be the most recognizable. For Karl Benjamin, interlocking and sometimes twisted shapes created energetic color associations and incongruous patterns. This exhibition also features contemporary artists like Linda Besemer, Patrick Wilson, and others who are pushing post-painterly abstraction into new territories."

Friday, June 4, 2021–Sunday, April 3, 2022

Organized by Rory Padeken, curator


Artists Paul Mpagi Sepuya and Genevieve Gaignard are featured in "Photo Flux: Unshuttering LA" at The Getty Center. On view May 25 - October 10, 2021.

"Photographs by 35 Los Angeles-based artists challenge ideals of beauty, representation, cultural capital, and objectivity. The artists in this exhibition, primarily people of color, have radically transformed photography to express their own aesthetics, identities, and narratives. Their work is foundational for an emerging generation of artists participating in the Getty Unshuttered program, which engages teens to seek photography as a platform to amplify social topics that resonate in their own lives."

Curated by jill moniz

Now available in our webshop:⁠ Ruben Ochoa's second limited-edition fundraising print⁠ supporting The Street Vendor Emergency Fund!⁠
⁠
Your purchase of Ruben Ochoa's LACMA x Snapchat fundraising print directly supports the initiative of Inclusive Action's emergency Los Angeles Street Vendor Campaign. The funds from each individual print will translate directly to a $400 cash card for street vendors and their families, many of whom have not been eligible to receive direct pandemic relief funding from the government.⁠
⁠
¡Vendedores, Presente! responds to L.A.’s shared history with street vendors. Ruben Ochoa draws attention to the region’s familiar fruit carts, paleteros, and flower stands creating a large-scale immersive environment that calls for solidarity with vendor advocacy. This project is part of LACMA × Snapchat: Monumental Perspectives.⁠

"ArtYard is pleased to present, Girl You Want, curated by J. Vanessa Lyon and featuring artists Genevieve Gaignard, Julia Greenburger, Jen Liu, Josh Rabineau, Wendy and Beatrice Red Star, Karinne Smith, Ivy Stewart, and María Vargas Aguilar.

What’s a girl? What do you expect from a girl or want girlhood to be? How are girls un/made? Are they pieced together, imagined, constructed? This exhibition examines what girling looks and feels like through a range of representational strategies, from portraiture to speculative narrative; from dress to interiors and the prettified materials of commodification and colonization. In this show “girl” and “girly” are not offered as stable or essential but are rather understood as shifting states untethered to “sex” or even age."

In celebration of Ruben Ochoa’s project for LACMA × Snapchat: Monumental Perspectives, view a short documentary series that follows street vendors as they unpack the history of the vending economy in Los Angeles, their efforts to organize and build sustainable businesses, the challenges and threats they face in this work environment, and the great impact the pandemic has had on this community.

Join us for a FREE virtual conversation with Suzanne Hudson, Math Bass, and Christina Quarles (via Zoom) on April 30 at 5 pm PST! ⁠ ⁠ In her forthcoming book "Contemporary Painting" (Thames and Hudson, April 2021), Los Angeles-based art historian and critic Suzanne Hudson considers painting as a vibrant and sometimes contentious critic of a dynamic global society.

During this talk, Hudson is joined by two esteemed painters, Math Bass and Christina Quarles, featured in the book.⁠ ⁠ This event is moderated by curator James Glisson from the Santa Barbara Museum of Art and Alexandra Terry from the Museum of Contemporary Art Santa Barbara. ⁠ ⁠

Wednesday, April 7 — 4:30 PM PDT

Through documenting contemporary activists focused on women’s rights, migrant justice, workers’ rights and climate justice, Andrea Bowers is committed to an intersectional feminism that dismantles gender privilege and builds community. Her multivalent art practice documents and honors the activists whose everyday actions forge meaningful change. Bowers is represented by Vielmetter Los Angeles, Andrew Kreps Gallery in New York, Capitain Petzel in Berlin, Kauffman Repetto in Milan, and Jessica Silverman in San Francisco. 

To register please follow the link below.

Congratulations to Steve Roden whose work has been acquired by The Frances Young Tang Teaching⁠
Museum and Art Gallery at Skidmore College as part of a gift from Michael O. and Sirje Helder⁠
Gold. ⁠
⁠
The gift includes works created in the 1990s⁠
and 2000s by a diverse group of leading and⁠
emerging artists, including Louise Bourgeois,⁠
Sean Duffy, Naomi Fisher, Iva Gueorguieva,⁠
Michelle Grabner, Carol Hepper, Steve Roden,⁠ Jonathan Seliger, Glen Seator, George Stoll,⁠ Beverly Semmes, and Barbara Takenaga.⁠

"The Louis Comfort Tiffany Foundation revealed the 20 contemporary artists receiving its 2019 Biennial Grants, which come with an unrestricted $20,000 for each recipient. Past recipients of the prize are a veritable who’s-who of influential contemporary artists, and this year’s class is equally impressive."

By Benjamin Sutton - 12 May 2020

Now available though our new online shop at shop.vielmetter.com is Paul Mpagi Sepuya's monograph recently published by Aperture and the Contemporary Art Museum St. Louis on the occasion of his first major museum survey exhibition. The monograph includes an interview with the artist by curator Wassan Al-Khudhairi as well as contributions by Malik Gaines, Lucy Gallun, Ariel Goldberg, Evan Moffitt, and Grace Wales Bonner. Check it out by following the Link below.

Vielmetter Los Angeles congratulates Mary Reid Kelley and Patrick Kelley on their appointment as the Keith L. and Kathy Sachs Visiting Professors in the Department of Fine Arts for the 2019 – 2020 Academic Year at The University of Pennsylvania Stuart Weitzman School of Design. Mary and Pat will work with graduate students and will give a public lecture at Penn’s Institute of Contemporary Art in Spring 2020.

We are happy to announce that Berlin based Tobias Vielmetter-Diekmann has moved to Los Angeles to join Vielmetter Los Angeles as Senior Director of Development and Technology. Tobias joins the team of Senior Directors Kevin Scholl, Ariel Pittman, and Michael Smoler.

Technology has been an important driver in the gallery’s development from the beginning and Tobias’ role will be to further advance the gallery’s operations by utilizing cutting-edge technological solutions. This will include enhancing our state-of-the-art data management and communications systems, optimizing the gallery’s internal workflow and its digital presence for years to come and thus creating substantial benefits for the gallery’s clients and artists represented.

Most recently, Tobias collaborated with Berlin-based strategic consultant and UX designer Konstantin Haubrok (https://haubrok.co) to redesign the gallery’s brand identity and communication for social media, online platforms and print publications. For the gallery’s move to the new downtown location, they developed a new layout for the gallery webpage, which delivers access from mobile devices and a greatly enhanced opportunity to explore the gallery’s programming, exhibitions, news, and portfolios of artists.

Tobias has been part of the team since the founding of the gallery in 2000, up to now working remotely from Berlin in various capacities including the directorship of the gallery’s former Berlin branch. He developed the gallery’s integrated inventory and address management system and has managed its online presence from the beginning. Tobias has also helped gallery artists with ambitious technology-based productions for exhibitions both at the gallery and in major institutions as well as implementing advanced studio archiving solutions and data management.

Tobias holds a degree in software engineering in addition to a BA in Museum Studies from Hochschule für Technik und Wirtschaft Berlin with graduate studies in Art and Visual History at Humboldt University of Berlin. He has worked as Director at Praz-Delavallade Gallery, Berlin, and assisted the Curator’s Office of the Neue Nationalgalerie, Staatliche Museen zu Berlin. Tobias is the founder of the inventory and contact management software WrkLst (https://wrklst.art), which offers cloud based integrated data management solutions for commercial galleries, artists, collectors, and museums and is being used by a wide range of private and institutional customers worldwide.

Vielmetter Los Angeles congratulates Mickalene Thomas on her appointment as the 2020 Presidential Visiting Fellow in Fine Arts at the Yale School of Art.

Stavros Niarchos Foundation Dean Marta Kuzma notes: “We are honored to have Mickalene Thomas join the Yale School of Art faculty throughout 2020 as a black feminist artist whose practice contributes to the evolving conversation around post-blackness, sexuality and power. She is a fierce mentor who has supported emerging queer black artists, through fostering critical conversations and assisting with professional development.”

Vielmetter Los Angeles congratulates Rodney McMillian on Brown: Videos from The Black Show, a solo exhibition at The Underground Museum (October 5, 2019–February 16, 2020). The exhibition is comprised of video works presented in the artist's major exhibition The Black Show at the Institute of Contemporary Art in Philadelphia (2016).

Opening night will feature a performance by jazz musician, Alice Smith and a DJ set by Novena Carmel. The event is free and open to the public.

Ruben Ochoa is one of five artists selected for the U.S. General Services Administration's Art in Architecture public art program at the San Ysidro Land Port of Entry at the US/Mexican border.

Ochoa’s work entitled “Mis Marcadores” takes its name and inspiration from conchas, a type of Mexican sweet bread (pan dulce) and the bread stamp, or “marcador”, that is used to create the bread’s signature crunchy shell-like pattern. Pan dulce has a special place in Mexico’s gastronomic landscape and is commonly enjoyed as an everyday breakfast snack (akin to doughnuts) and during the observance of special occasions such as the Day of the Dead.

Vielmetter Los Angeles congratulates Shana Lutker on her installation in this year's CURRENT: LA, Los Angeles' public art triennial (October 5–November 3, 2019), themed "Food." Titled "Contemporary Museum of Temporary Containers (CMTC)" and located at Valley Plaza Recreation Center in North Hollywood, the installation is composed of single-use takeout containers painted a single color and organized by size, shape, or former contents. The work encourages creative reuse and considers the limits of sustainability and recycling at a critical juncture of environmental responsibility.

Commissioned by the San Francisco Arts Commission, Liz Glynn presents a permanent public art installation "Terra-Techne" located at Harvey Milk Terminal 1 at the San Francisco International Airport.

"Terra-Techne" is intended as a monument to technological innovation and organic connectivity. The artwork consists of six suspended “tectonic plates”, each representing a different continent, from which an upside-down landscape projects from the underside of the continents while an abstract circuit board extrusion sits on the top.

Mary Kelly: Selected Works, a solo exhibition by Mary Kelly, opens at the Weatherspoon Art Museum (WAM) in Greensboro, NC on September 28, 2019 and will remain on view through December 8, 2019. Kelly is currently a Falk Visiting Artist at WAM. This exhibition is organized by Dr. Emily Stamey, Curator of Exhibitions.

For more information, please visit the museum's website.

On September 21, Public Art Fund will present Conquest, Pope.L’s largest group performance to date. Inspired by the artist’s iconic crawls in which he dragged his body across the urban landscape, Conquest will navigate the streets of Downtown Manhattan continuing the irreverent tradition of his more than 30 performative works that have taken place since 1978. In this iteration, a group of 100+ volunteer participants that reflect the cultural and demographic diversity of New York City will crawl in relay a nearly 1.5 mile-long route from the well-to-do West Village to the new granite steps of Union Square via the triumphal arch of Washington Square Park. In choosing to give up their physical privilege, participants satirize their own social and political advantage, creating a comic scene of struggle and vulnerability to share with the entire community. Public Art Fund's presentation will be the artist’s most ambitious yet, putting on full display the power and contradictions of collective expression.

Conquest is the free, outdoor component of Pope.L: Instigation, Aspiration, Perspiration – a trio of complementary exhibitions organized by Public Art Fund, the Whitney Museum of American Art, and The Museum of Modern Art. Addressing the artist’s boundary-breaking practice, the three-institution season of Pope.L’s work utilizes both public and private spaces, and will address issues and themes ranging from language and gender, to race, social struggle, and community.

Pope.L: Conquest is curated by Public Art Fund Director & Chief Curator Nicholas Baume, with Public Art Fund Assistant Curator Katerina Stathopoulou.

With the opening of two additional exhibition spaces in our downtown location, Vielmetter Los Angeles is expanding the gallery in downtown Los Angeles to 24,000 sqf of exhibition space. We are closing the Culver City space as of July 6 and will be open by appointment until July 30.

Please note our new address and phone number below:

1700 S. Santa Fe Avenue, Los Angeles, CA 90021
+1 213 623 3280

Our next opening will take place on Saturday, July 13, with a solo exhibition of Steve Roden’s work at the downtown gallery.

Commissioned by Studio Voltaire, Rand/Goop (July 5–October 6) is a new large-scale installation at Studio Voltaire by Mary Reid Kelley and Patrick Kelley and marks the artists’ first institutional exhibition in London.

In Rand/Goop, the artists have created a circular narrative for six totemic video sculptures. The protagonists, all performed by Reid Kelley, speak in pithy and often capricious four–line cento poems. The contents are drawn entirely from two sources. Appraisals of Russian–American writer and philosopher Ayn Rand’s ‘Objectivism’ philosophies – limited only to evangelist scholars of her work – are spliced with titles of articles listed on the website of Gwyneth Paltrow’s lifestyle, beauty and wellness brand Goop.

Sadie Benning, Nicole Eisenman, Rodney McMillian, Pope.L, and Paul Mpagi Sepuya are included in the exhibition The Foundation of the Museum: MOCA's Collection at the Museum of Contemporary Art (MOCA) in Los Angeles (May 19, 2019 - Jan 27, 2020). The exhibition is organized by Bennett Simpson, Senior Curator, with Rebecca Lowery, Assistant Curator, The Museum of Contemporary Art, Los Angeles.

Liz Glynn is included in Bold Tendencies' rooftop summer program (May 30 – September 21, 2019) in London with her project Unearthed Underground.

Unearthed Underground is a biomorphic network of tunnels spread over the Bold Tendencies' rooftop, some 22m wide and 15m long. The form of the network is taken from Joseph Bazalgette’s original London sewer system, tracing its tunnel network as it converges across London. Glynn’s installation uproots and re-casts this network onto the roof of the car park. The installation is marked by traces of the sewer's curious history: an inverted dinner party scene nodding to the three-hundred person banquet inaugurating the system, and a lost ceramic slipper from the Queen's parade through the tunnels. As a teenage punk in the 1990s, Glynn watched as indie and punk were subsumed by capitalism and now questions whether an "underground" is still possible under the regime of global capitalism. Inspired by the literature of Dostoyevsky, Victor Hugo and CS Lewis - places where the underground represents a darker, fantastic and utopian space - Glynn is equally concerned with historical cases of those members of society operating literally and figuratively in the shadows below ground. The curving forms of the tunnels represent a time before rational urban planning was introduced; in Victorian London, straightening and widening the crocked streets was considered part of a broader effort at moral reform targeting the lower classes. Glynn likens the act of uprooting this sewer – which doubles as a circulatory system – to the current political climate, where the festering discomforts plaguing a society can no longer be ignored.

Organized by Wassan Al-Khudhairi, Chief Curator, with Misa Jeffereis, Assistant Curator, the Contemporary Art Museum St. Louis presents Paul Mpagi Sepuya's first major museum survey (May 17 – August 18, 2019).The artist’s first monograph will be published by CAM for this exhibition, featuring contributions by Grace Wales Bonner, fashion designer; Malik Gaines, writer, performer, associate professor and director of undergraduate studies at New York University’s Tisch School of the Arts; Lucy Gallun, assistant curator of the department of photography at the Museum of Modern Art, New York; Ariel Goldberg, novelist, poet, and essayist; Evan Moffitt, writer, critic, and associate editor of Frieze; and Ikechukwu Onyewuenyi, writer and curatorial assistant at the Hammer Museum, Los Angeles.

Organized by Anne Ellegood, senior curator at the Hammer Museum, Hammer Projects: Yunhee Min (March 28 – October 27, 2019) adapts the vibrant abstract imagery of her recent approach to painting to the steps of the lobby staircase, in the first Hammer Project to be oriented to the floor rather than the walls. Min completely alters the surface of the stairs themselves, while also making subtle modifications to the walls and lighting in the lobby to underscore how context impacts experience and enhance the visitors’ awareness of the architecture.

Vielmetter Los Angeles congratulates Nicole Eisenman on her inclusion in the 58th Venice Biennale. The artist has been represented by the gallery since 2007 and will present works in the central exhibition May You Live In Interesting Times, curated by Ralph Rugoff. Works include Dark Light (2017) and Heading Down River on the USS J-Bone of an Ass (2017).

Vielmetter Los Angeles is pleased to announce its representation of Deborah Roberts. The artist's inaugural exhibition with the gallery will open in April 2019 at our downtown location.

Deborah Roberts (b. 1962) lives and works in Austin, TX. Roberts makes collages using photographs, magazine clippings, and images from the internet, with a unique visual language evoking African-American womanhood to explore the subjects of beauty, identity and politics.

Roberts is the recipient of The Anonymous Was a Woman award was presented to Roberts in 2018. Forthcoming group exhibitions include ‘Cut and Paste: 400 Years of Collage', Scottish National Gallery of Modern Art, Edinburgh, Scotland, UK (2019) and ‘Plumb Line: Charles White and the Contemporary', Californian African American Museum (CAAM), Los Angeles, USA (2019). Selected exhibitions include: 'Deborah Roberts: The Evolution of Mimi', Spelman Museum, Atlanta, Georgia, USA (2018); 'Reclamation! Pan-African from the Beth Rudin DeWoody Collection', Taubman Museum of Art, Roanoke, Virginia, USA (2018); 'Talisman In The Age Of Difference', Stephen Friedman Gallery, London, UK (2018); 'Legacy of the Cool: A Tribute to Barkley L. Hendricks', MassArt, Boston, Massachusetts, USA (2018);' Constructing Identity in America (1766-2017)', Montclair Art Museum, New Jersey, USA; ‘Fictions, Studio Museum of Harlem', New York, New York, USA (2017); 'I know why the caged bird sings', Carver Museum, Austin, Texas, USA (2016); 'Gently Fried', MACC, Austin, Texas, USA (2015); 'The House on Mango Street', National Mexican American Museum, Chicago, Illinois, USA (2015).

Roberts' work is in the collections of Whitney Museum of American Art, New York; Museum of Modern Art, New York; Brooklyn Museum, New York; The Studio Museum in Harlem, New York; 21c Museum Hotels, Louisville, Kentucky; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York; Block Museum of Art, Evanston, Illinois; Pérez Art Museum Miami (PAMM), Miami, Florida; LACMA, Los Angeles, California; Montclair Art Museum, Montclair, New Jersey; Blanton Museum of Art, Austin, Texas; and Pizzuti Collection, Columbus, Ohio. She was a recipient of the Pollock-Krasner Grant in 2016.

Curated by Jenny Gheith (Assistant Curator of Painting and Sculpture at SFMOMA), New Work: Rodney McMillian (February 9 – June 9, 2019) at the San Francisco Museum of Modern Art marks the artist's first solo museum presentation on the West Coast. In this exhibition, McMillian brings together his long-standing interest in the representation of the American landscape with an exploration of home as a place and a state of mind.

New Work: Rodney McMillian features a painted abstract panorama spanning the entirety of the gallery, paired with a soundscape interweaving iconic 1980s songs performed by McMillian and the voice of a social advocate proposing radically new language and polices around the condition of homelessness. This immersive installation questions the political systems that promise freedom and equality for all, and highlights the power of the individual to affect hope and create change.

Mary Kelly's site-specific project for Desert X titled Peace is the Only Shelter returns to the Cold War intervention of Women Strike for Peach, a group formed in 1961 to protest against nuclear weapons testing in the Mojave Desert.

The project description reads: A long period of research led Mary Kelly to repurpose Cold War–era peace activism, in this case the anti-nuclear Women Strike for Peace (WSP), formed in 1961. This feminist group initiated lobbies, petitions, vigils, and demonstrations against nuclear testing. Between 1945 and 1992, the United States conducted more than 1,000 nuclear tests, mostly in the desert Southwest. The artist notes, “Although the radical peace initiatives of women in the early post-war period have been largely forgotten, the action-oriented interventions of the Women Strike for Peace set a precedent for the non-hierarchical politics of second-wave feminism, as well as the many prominent protest movements currently underway.” This counter-history takes on renewed significance amid today’s escalated tensions worldwide. A central feature of Kelly’s similarly public intervention is the so-called Doomsday Clock, whose hands tick closer to midnight as militarism rises and humanity inches closer to self-destruction. The allegory in Peace is the Only Shelter is reshaped as a bus shelter, itself a representative timetable. The intervention in public space calls attention to vestiges of the Cold War in our contemporary context, employing slogans from the WSP, where normally there would be advertisements, and cartographies of military expansion in the California desert, where there would be routes and schedules.

Locations:

531 S. Palm Canyon

33.815465, -116.546812

457-467 S. Indian Canyon Drive

33.816646, -116.545421

Southwest corner of Ramon Road and S. Indian Canyon Drive.

33.815720, -116.545957

Susanne Vielmetter Los Angeles Projects is pleased to announce the opening of our new exhibition space in downtown Los Angeles. Spanning the entire length of 1700 South Santa Fe Avenue, the 11,000 sf warehouse will host the gallery’s most ambitiously scaled exhibitions and provides additional space for both a screening and reading room. It will be used as a second exhibition space in addition to our Culver City gallery. The gallery design was developed in collaboration with TOLO Architecture and Anderson Studio.

The gallery will open during Frieze LA with a preview on Friday, February 15, 2019, and will open to the public on Saturday, February 16. The inaugural exhibition will feature new and historic works by artists from the gallery’s roster: Edgar Arceneaux, Sadie Benning, Andrea Bowers, Kim Dingle, Sean Duffy, Nicole Eisenman, Charles Gaines, Karl Haendel, Stanya Kahn, Mary Kelly, Rodney McMillian, Wangechi Mutu, Ruben Ochoa, Pope.L, Amy Sillman, and Nicola Tyson. The inaugural exhibition will be followed by solo exhibitions of new work by Arlene Shechet, Deborah Roberts, Sam Levi Jones, Genevieve Gaignard, Andrea Bowers, Shana Lutker, and Liz Glynn.

The downtown gallery is located at 1700 S Santa Fe Avenue, just south of the 10 freeway. Limited parking is available on the north parking lot adjacent to the building. Visitors to the opening are encouraged to use ride sharing services.

Vielmetter Los Angeles is pleased to announce its representation of Paul Mpagi Sepuya. The artist's inaugural exhibition with the gallery will open in 2020.

Paul Mpagi Sepuya (b. 1982) is a Los Angeles-based artist working in photography. His work focuses on the production of portraiture in the artist’s studio as a site of homoerotic social relations, and the potential of blackness in the space of the “dark room.” His work emerged within the queer zine scene of the 2000s, he became known for his 2005 ¬– 2007 zine series “SHOOT” and first monograph “Beloved Object & Amorous Subject, Revisited” (2008).

Most recently his work has been included in “Being: New Photography 2018” at the Museum of Modern Art, solo museum exhibition “Double Enclosure” at FOAM Amsterdam and “Trigger: Gender as a Tool and a Weapon” at the New Museum. Other solo exhibitions include “Dark Room” at Document, Chicago (2018), “Dark Room” at team (bungalow) (2017), Los Angeles and “Figures, Grounds and Studies” at Yancey Richardson Gallery, New York City (2017). His first museum survey in the United States will open May 2019 at CAM St Louis. Sepuya’s work is in the collections of The Museum of Modern Art, the Whitney and Guggenheim Museums, The Studio Museum in Harlem and MOCA Los Angeles, among others.